History of Art: A Student's Handbook

History of Art: A Student's Handbook

Language: English

Pages: 182

ISBN: 0415639247

Format: PDF / Kindle (mobi) / ePub

This fully revised edition of the History of Art: A Student's Handbook introduces students to the kinds of practices, challenges, questions and writings they will encounter in studying the history of art.

Marcia Pointon conveys the excitement of Art History as a multi-faceted discipline addressing all aspects of the study of media, communication and representation. She describes and analyses different methods and approaches to the discipline, explaining their history and their effects on the day-to-day learning process. She also discusses the relationship of Art History to related disciplines including film, literature, design history and anthropology.

The fifth edition of this classic text includes:

  • • information on why Art History is important and relevant in today’s world
  • guidance on choosing a degree course
  • case studies of careers pursued by Art History graduates
  • advice on study skills and reading methods
  • a bibliography and further reading
  • detailed up to date advice on electronic resources and links to essential websites

History of Art

covers academic, training and vocational aspects of Art History, providing a wealth of information on the characteristics of courses available and on the relationship between Art History and the world of museums and heritage.

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Diego Rivera: His Art and His Passions (Temporis Collection)



















terms about ‘originals’ and ‘reproductions’, since many artists are themselves using those very methods of reproduction in their work. For this and for other reasons, some scholars avoid the use of the term ‘work of art’ altogether. The materials from which a work of art is made are called the medium. It may seem a simple enough matter to decide what the medium of a picture is. In fact, questions of technique can be very complicated. Those concerned with conservation and restoration need a very

Géricault was a part of ‘the Romantic movement’ is to place him in the nineteenth century with an amorphous mass of artists, writers and musicians generally believed to have subscribed to a vague artistic philosophy based on individuality and nature. This sort of art-historical Happy Families is not very helpful. On the other hand, the art historian is bound to ask questions about why and how one person, one group of people, one event or one work of art provokes reactions which might be classed

undergoes radical changes, in the sense that in one picture he is dressed in the American Indian tradition (or rather according to the codified image of that tradition), and in the second photo, probably taken the following year, he is wearing Western dress, after becoming a Christian. Religion and culture were assimilated following subjugation, the education of the ‘noble savage’ was complete and he could be part of civilised society.19 This author is concerned to group what he is examining

since the early 1990s has issued revised editions in larger format with improved imagery and, in some cases, completely new texts. At the same time the range has been extended to cover China, Russia and the Indian subcontinent. For a richer and more provocative approach to period study, students will do well, however, to move quickly to a book such as Michael Baxandall’s Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style. First published by

the privilege of extending my knowledge. One of the things that has been very interesting to me as I undertook the research for this chapter has been to discover how enterprising Art History graduates have transferred into other professional fields after gaining varied experience. Aida Selmanovic studied for her undergraduate degree at the University of St Andrews between 2002 and 2006. She was awarded her Master’s in Modern British Art from the Courtauld Institute of Art in 2008. Here is how

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